{"id":20539,"date":"2021-04-23T16:25:32","date_gmt":"2021-04-23T15:25:32","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=20539"},"modified":"2022-01-26T10:56:07","modified_gmt":"2022-01-26T10:56:07","slug":"charles-w-bartletts-prints","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2021\/04\/23\/charles-w-bartletts-prints\/","title":{"rendered":"Charles W. Bartlett’s prints"},"content":{"rendered":"

\"bartlett08.jpg\"<\/a><\/p>\n

Taj Mahal, Agra (1916).<\/em><\/p>\n

In which British artist Charles W. Bartlett<\/a> (1860\u20131940) applies the later style of ukiyo-e<\/em> landscapes to his views of India and Hawaii. Bartlett was one of a handful of Western artists to have his work reproduced by a Japanese publisher of woodblock prints, Watanabe Shozaburo, so his mastery of the form may be taken as having been given a literal seal of approval.<\/p>\n

\"bartlett07.jpg\"<\/a><\/p>\n

Taj Mahal, Sunset (1920).<\/em><\/p>\n

Considering the popularity and influence of Japanese prints I’m surprised that more artists haven’t attempted series productions like Hokusai’s Thirty-Six Views of Mount Fuji<\/em>, rather than simply borrowing the familiar approach to line and colour. To date the only Western example I know of is Henri Rivi\u00e8re’s Hokusai homage, Thirty-Six Views of the Eiffel Tower<\/a><\/em> (1902). Charles Bartlett could have done the same with the Taj Mahal, a subject he returned to often enough, and a building which, like the Eiffel Tower, is recognisable even in silhouette.<\/p>\n

\"bartlett09.jpg\"<\/a><\/p>\n

Hawaii, The Surf Rider (1921).<\/em><\/p>\n

\"bartlett03.jpg\"<\/a><\/p>\n

Taj Mahal (1916).<\/em><\/p>\n

\"bartlett04.jpg\"<\/a><\/p>\n

Silk Merchants, India (1919).<\/em><\/p>\n

<\/p>\n

\"bartlett02.jpg\"<\/a><\/p>\n

India, Agra\u2014Caravan at Night (1916).<\/em><\/p>\n

\"bartlett05.jpg\"<\/a><\/p>\n

Prayers at Sunset, Udaipur, India (1919).<\/em><\/p>\n

\"bartlett06.jpg\"<\/a><\/p>\n

Hawaiian fisherman (1920).<\/em><\/p>\n

\"bartlett01.jpg\"<\/a><\/p>\n

Taj Mahal, Twilight (1919).<\/em><\/p>\n

\"bartlett10.jpg\"<\/a><\/p>\n

Udaipur, India (1917).<\/em><\/p>\n

Previously on { feuilleton }
\n\u2022 Sixteen views of Meoto Iwa<\/a>
\n\u2022 Waves and clouds<\/a>
\n\u2022 Yoshitoshi\u2019s ghosts<\/a>
\n\u2022 Japanese moons<\/a>
\n\u2022 The Hell Courtesan<\/a>
\n\u2022 Vasily Vereshchagin\u2019s temples<\/a>
\n\u2022 Nocturnes<\/a>
\n\u2022 Taj Mahal panoramas<\/a>
\n\u2022 Henri Rivi\u00e8re\u2019s Eiffel Tower<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Taj Mahal, Agra (1916). In which British artist Charles W. Bartlett (1860\u20131940) applies the later style of ukiyo-e landscapes to his views of India and Hawaii. Bartlett was one of a handful of Western artists to have his work reproduced by a Japanese publisher of woodblock prints, Watanabe Shozaburo, so his mastery of the form … Continue reading “Charles W. Bartlett’s prints”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: Charles W. Bartlett's prints","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,2],"tags":[11383,11375,9372,11384],"class_list":["post-20539","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","tag-charles-w-bartlett","tag-henri-riviere","tag-hokusai","tag-watanabe-shozaburo"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5lh","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20539","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=20539"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20539\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=20539"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=20539"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=20539"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}